Celeste Yi Ying Chia, Aqsa Magan and Meg Kennedy

What can the Australian publishing industry learn from existing best marketing practices when it comes to environmental sustainability?

Keywords: Australian publishing industry, carbon emissions (CO2e), carbon footprint, sustainability goals, digital carbon footprint, environmentally sustainable practices, HarperCollins, Penguin Random House (PRH), recycling, sustainable packaging, sustainable practices, Sustainable Development Goals (SDG), University of Queensland Press (UQP)

Introduction

In 2020, the United Nations launched the Sustainable Development Goals (SDG) Publishers Compact in collaboration with the International Publishers Association (IPA). The SDG Publishers Compact outlines 10 goals to encourage the global publishing industry to adopt more environmentally sustainable practices—not only in how books are produced, but also in how they are marketed and distributed. With this in mind, we outline what the Australian publishing industry can learn from existing best marketing practices from within the industry, as well as adjacent industries and overseas, when it comes to environmental sustainability, offering a broad view of what sustainable marketing can look like—and how Australian publishers might apply it.

Many Australian trade publishing houses are already making efforts to incorporate environmental sustainability into their overall branding and operations. Recent research indicates a significant shift in consumer purchasing patterns over the past few decades, with a growing emphasis on environmentally sustainable products and practices. In this more ethically-oriented consumer culture, individuals are concerned not only for the quality of the product, but also for its impact on the broader community and the natural world. Sustainability is no longer seen as a peripheral issue that only luxury brands can afford to tackle, but a crucially important factor in consumer decision-making.

In today’s competitive landscape, aligning with these consumer values is important for businesses looking to remain relevant and maintain consumer trust. Companies are now expected to integrate sustainable practices throughout their operations, from sourcing raw materials to production methods and marketing strategies, so that they not only meet consumer expectations but also act as industry leaders in an increasingly eco-conscious marketplace. In response, digital methods of marketing and advertising are increasingly being employed; these methods usually aim to reach larger audiences and to reduce costs, but also reduce the amount of waste generated from physical marketing collateral.

As Australian publishing houses shift towards digital marketing, they must account for the changing demographics of their target audiences—particularly Gen Z. This generation has been described by scholars as ‘largely environmentally conscious’ and responsive to marketing that they perceive as authentically ethical and environmentally aware. In response, researchers suggest that sustainable branding must move beyond short-term profit models to align with long-term environmental values. What distinguishes Gen Z further is their online literacy: their opinions are often shaped by social media, where influencers play a significant role in framing sustainability narratives.

Studies have found that both macro-influencers (social media influencers with more than 100,000 followers often considered to have a substantial amount of influence) and micro-influencers (social media influencers with a following somewhere between a normal user and a celebrity) are effective messengers for sustainability, with younger audiences showing high receptivity to such content. Macro-influencers bring broad reach, while micro-influencers cultivate deeper niche engagement, both offering strategic value depending on a publisher’s goals. This suggests that influencers are not just a vehicle for promotion, but also a tool for legitimising and amplifying sustainability messaging. Existing research suggests that when influencer partnerships are values-aligned and transparent, they can amplify sustainability messaging in meaningful ways. For publishers, leveraging influencers effectively could mean tapping into the spaces where eco-conscious readers already engage.

Infographic 1: macro and micro-influencers.

Much of the existing literature on sustainability marketing and influencer engagement stems from industries like fashion and food, offering a wealth of insights that the publishing industry can learn from. Collectively, these studies point to the potential for publishing houses to rethink not only what they market, but how and through whom. Additionally, niche international and local publishers are already using environmental marketing in innovative ways that also offer valuable insights. Here, we examine these potential intersections of marketing and environmental sustainability from three perspectives: adjacent industry strategies with strong brand identities, publishing houses built on sustainability-first missions, and the digital marketing shifts reshaping the Australian publishing landscape. This examination aims to provide publishing houses an opportunity to rethink how their marketing strategies can align with their environmental sustainability goals.

Case study: Aesop

There are already companies across a wide variety of industries incorporating environmental sustainability into their ethos and business. Skincare and cosmetics brand Aesop is world-renowned for its sustainable practices in both products and marketing. The brand has successfully incorporated sustainability into its business model with strategies the publishing industry could implement in their own marketing practices to become more sustainable.

Established in Australia in 1987, Aesop cemented itself as a luxury, natural option in the lucrative cosmetic space over a number of years. Aesop is renowned for its minimalist packaging and employment of natural ingredients, with branding aligned with sustainability and eco-friendliness. Their packaging uses paper that is either Forest Stewardship Council (FSC) or Programme for the Endorsement of Forest Certification (PEFC)-certified, which ensures material traceability. Aesop has also implemented a Decarbonisation Roadmap to support its net-zero goal, aiming to reduce emissions by 2030. These initiatives not only contribute to the brand’s aesthetic but also embed sustainable practices into its business model.

Although the cosmetics industry is different to publishing, there are several strategies the publishing industry could learn from in order to make their marketing practices more sustainable. The most accessible of these would be to minimise packaging and incorporate recycled materials when mailing out books for marketing and publicity campaigns. With the rise of social media’s importance to publishers’ marketing campaigns in the form of online communities such as ‘BookTok’ and ‘Bookstagram,’ influencers within these communities receive book packages from publishers to promote to their audience, often showing the packaging itself in ‘unboxing’ videos. This means packaging plays a key role in marketing campaigns, and the overall sale of both backlist and new titles. In this way, prioritising environmental sustainability in the selection of packaging materials is both a marketing strategy and an ethical practice, and can be both financially and environmentally advantageous.

Another aspect of Aesop’s marketing strategy is forging emotional bonds with their customers, focusing on creating a lifestyle and a sense of community around the brand to encourage customer retention. Embedding sustainability into their branding strengthens these bonds by appealing to the shared values of their customers. It is worth considering how publishers engage with their customers, and how sustainability can be further integrated into their overall brands. One possibility could be targeting audiences through tailored social media accounts, such as HarperCollins Australia’s romance.com.au and corresponding Instagram account. Another strategy could be furthering platforming the publisher’s sustainability efforts on their social media accounts, connecting directly with customers.

Case study: Amplify Bookstore

The marketing practices of trade publishers have a trickle-down effect, primarily to their key customers: bookstores. Bookstores receive a number of marketing collateral materials on a regular basis, referred to in the industry as point of sale (POS) items, such as posters, bookmarks, shelf-talkers, and more. These materials are sent from the publisher to promote a key title, tie into a specialised event (e.g. Mother’s Day), or promote sales during the holiday season. A 2022 study found that a key problem with distribution in the US publishing industry was that publishers intentionally flooded the market with big marketing campaigns for lead titles, leading to bookstores purchasing a large quantity of stock. Although bookstores can return their unsold stock to publishers, they are still left with unnecessary POS materials that lead to more waste.

Infographic 2: point of sale (POS) items.

Amplify Bookstore is a Melbourne-based specialist bookstore focused on titles by authors of colour, with the ethos of encouraging readers to ‘diversify [their] bookshelf’. Co-owner Jing Xuan Teo explains the most common marketing collateral the store receives are posters and bookmarks, which often come as a pack. Jing says the most preferred materials by booksellers are bookmarks, as they don’t take up wall space, and shelf-talkers, which have a longer lifespan—particularly on popular backlist titles, such as Rebecca F Kuang’s Yellowface (2023). However, she notes that book marketing ‘has multi touch-points—you can’t just do one thing’, and that from a bookseller perspective, if it is a big campaign, it means the store is already aware of the book before it comes out. As visibility is a key marketing strategy in publishing, Jing says that these titles ‘have to be backed up with a proper campaign for it to work’.

Jing explains that Amplify Bookstore ‘[tries] to reuse or use as much as [they] can’, highlighting a poster wall she is building with marketing posters the store receives, instead of taking things down after the campaign where they end up in waste. However, she would like to see ‘more innovative POS’ from publishers, as there’s no way of correlating a poster or a bookmark to a sale and engagements such as giveaways.

Case study: Patagonia Books and University of Queensland Press

Patagonia Books—the innovative publishing division of American outdoor recreation retailer Patagonia—has successfully transferred sustainability-driven marketing strategies from their established global apparel brand. The University of Queensland Press (UQP), a relatively small Australian publisher that recently signed the SDG Publishers Compact, shares Patagonia’s core focus on sustainability and has also demonstrated how centring environmental sustainability in marketing strategies can benefit trade publishers. Together, these two publishers provide valuable insights into why holistic sustainability is integral to their marketing strategies, how they operationalise these commitments, and what practical lessons other Australian publishers can draw upon to enhance their own efforts.

Patagonia Books is a unique example of how environmental sustainability can be embedded into a brand’s identity and marketing strategy from the outset. Their website contains detailed information on their environmental and ethical commitments, reinforcing that environmental concern is not an afterthought, but central to their operations. This aligns with the ‘Triple P’ approach—people, planet, profit—that underscores the importance of balancing purpose with financial viability. Founder Yvon Chouinard has stated, ‘if we could do the right thing while making enough to pay the bills, we could influence customers and other businesses, and maybe mark the system along the way’. We spoke to publisher Karla Olson, who echoed this sentiment, explaining that Patagonia Books was created to extend the company’s core mission by telling stories rooted in environmental consciousness. This seamless integration of values across ventures shows how sustainability can serve not just as a business ethic, but also as a compelling marketing tool—one that consumers increasingly. In Patagonia’s case, marketing and mission are inseparable—and that coherence becomes a powerful differentiator in a crowded market.

UQP’s values extend to their authors, many of whom began foregrounding sustainability more explicitly in their work. One example is non-fiction title A River with a City Problem: A History of the Brisbane Floods, originally based on a PhD thesis, which UQP revised and re-released following the 2022 floods. They now actively seek out titles addressing current issues, grouped under their ‘environment and sustainability’ category. In doing so, UQP clearly aligns with Goals 2 and 7 of the SDG Compact—‘actively promoting and acquiring content’ and ‘becoming an advocate to customers and stakeholders’ around sustainability—demonstrating their commitment to a broader environmental shift. UQP’s sustained values-driven approach mirrors Patagonia’s in many ways, showing how deeply embedded sustainability can meaningfully shape both publishing outputs and marketing narratives.

Along with publishing environmentally friendly titles and highlighting sustainability through their brand messaging, both Patagonia Books and UQP also demonstrate tangible commitments to eco-conscious processes. UQP, for example, employs a mix of physical and digital marketing but increasingly prioritises digital to reduce environmental impact. They send digital review copies to minimise the emissions associated with printing and shipping, making use of email direct marketing and digital banners for outreach. Patagonia Books takes this further, using only Post-Consumer Waste (PCW) paper in its publications. This shift has a significant environmental benefit; the production of Virgin Paper generates four times the carbon emissions (CO2e) per tonne when compared to 100% PCW. These practices reflect a strong alignment between sustainability goals and operational processes, reinforcing each publisher’s commitment to tangible actions.

Both Patagonia and UQP emphasise transparency as a core part of their sustainable branding strategies. Olson notes that openly communicating environmental values to partners—whether in production or marketing—strengthens a brand’s perceived authenticity and deepens consumer trust. UQP echoes this, stating that they are upfront about their sustainability goals with stakeholders, always explaining the reasoning behind their decisions. They have found that when processes are pitched with clear sustainability expectations from the outset, responses are overwhelmingly positive. In this way, communication becomes more than just internal alignment; it becomes a powerful marketing strategy, especially among audiences like Gen Z who value transparency and ethical integrity in the brands they support.

Linking Patagonia and UQP together is their commitment to public-facing sustainability frameworks, which aim to uphold transparency and accountability in regard to their commitments. Patagonia is a certified Benefit Corporation (B Corp), a designation that signals strong environmental and social accountability to consumers. As previously mentioned, UQP is a signatory of the SDG Publishers Compact. In our interview, UQP noted that although sustainability had always been central to their operations, they hoped their public commitment to the Compact might inspire other Australian publishers to adopt more environmentally friendly practices as well. They also noted that joining the Compact required them to begin reporting on their initiatives and achievements—similar to B Corp reporting processes.

Case study: Penguin Random House Australia

As Australia’s largest publishing house, with a significant international presence, the transition to digital advertising at Penguin Random House Australia (PRH) can provide a glimpse into the inner workings of the industry and the direction it is heading. Here, we explore the digital marketing initiatives of PRH in order to better understand the possible obstacles faced by publishing houses in their attempts to move towards environmentally friendly marketing initiatives.

In response to our interview questions, Dot Tonkin, PRH’s Marketing and Publicity Manager, shared that both digital and physical marketing strategies reach a variety of different audiences, hence they employ a mix of both. They also note that they have shifted to ‘a more digital heavy focus in the last five years’, which includes a reduction in the amount of physical POS items, such as posters and bookmarks. Yet, due to the sheer number of physical bookstores in Australia ‘many of which have large window frontages’, they do not foresee getting rid of physical POS entirely. PRH also mentioned that advertising collateral is listed on order forms given to booksellers so they can order the exact amount they want, avoiding excessive printing. Booksellers can then recycle these materials or give it to customers after use. However, with this collateral, ‘sometimes the sustainable option is more expensive’, making PRH reconsider whether to invest in making their collateral material more sustainable.

The organisation also ‘regularly hold information sessions with the team about sourcing materials sustainably and ethically’. These meetings aim to ensure alignment between the company’s operations and its sustainability objectives. This underscores the notion that environmental responsibility is not confined to a single department or entity but instead requires coordinated efforts across the entire production pipeline. The efficacy of this approach is evidenced in several studies, which note that fostering a green culture within an organisation enhances employee engagement in sustainable practices, as behaviours are strongly influenced by shared organisational values and norms.

PRH’s adoption of NetGalley, a digital platform that allows booksellers, media professionals and reviewers to access advance copies of books, demonstrates a meaningful step toward reducing the number of Advance Reading Copies (ARCs) they have to print. This not only minimises resource consumption associated with paper production and printing but also decreases the carbon footprint tied to logistics, including storage and transportation. Furthermore, PRH’s strategy reflects broader collaboration across adjacent sectors, including the bookselling industry and social media influencers, thereby extending the impact of these sustainable practices beyond the industry. While PRH has been encouraging social media influencers and booksellers to review books on NetGalley, they mention that getting people to use the platform has been a slow process. They also acknowledge that while this saves on ‘paper, ink, glue, packaging and transport costs’, it still leaves a digital carbon footprint.

Through this interview, it was revealed that both digital and physical marketing strategies are effective in reaching different audience groups, making it important for PRH to employ a mix of both. This aligns with previous research, which suggests that while digital marketing excels in reaching a broader audience, physical marketing remains effective, particularly in retail settings. PRH’s reluctance to completely phase out physical POS reflects its ongoing value in engaging customers in physical bookstores and booksellers who rely on these materials for in-store promotion. Despite a growing push for sustainability, this mix is essential and allows PRH to maintain reach and relevance across varied consumer contact points. This aligns with broader industry trends, where sustainable materials typically incur greater expenses due to several contributing factors. Previous research has shown that these factors include, but are not limited to, their low-volume production due to the lacking infrastructure to produce them, and overall higher costs of production due to the need for more ‘research, development, testing, and code approvals’. All of this contributes to increased costs that are eventually borne by the customer, which in this case, would be PRH.

Discussion

As we’ve noted, an important part of environmentally sustainable branding is transparency regarding the sustainable practice and following through on those commitments. Patagonia Books and UQP note that publishers face substantial challenges in making their sustainability practices viable at scale. There are numerous industry problems that make it challenging to navigate good distribution practices, such as limited sustainable printing options, increased financial costs, and simply not being aware of available eco-conscious options. For UQP, Australia’s limited pool of sustainable printers presents a significant barrier. They currently work with McPherson’s and Gryphon—two of the primary local printers—who are not able to offer fully PCW paper but can provide FSC mix paper, which includes sustainably sourced pulp, recycled content, and mineral-based ink. UQP described this as a compromise and emphasised the importance of pushing existing partners to improve. Patagonia likewise had to invest significant time and resources to identify a printing partner aligned with their environmental goals. Olson underscores that meaningful sustainability in publishing requires ‘strong communication and persistence’, especially when working within a system not yet designed for these goals.

While sustainability certifications are an important tool for developing consumer trust, it is worth acknowledging that some of these certifications have recently come under scrutiny. In particular, concerns have been raised over their reliance on self-reporting, which can sometimes lead to exaggerated or misleading claims. It is argued that this process allows companies to showcase easy wins rather than tackle complex, urgent issues, potentially leading to greenwashing. Both Patagonia and UQP seem aware of these limitations. As UQP pointed out, such frameworks are only meaningful if backed by sustained, transparent action. Nonetheless, these labels serve as powerful branding tools—especially in a marketing context. They provide recognisable signals of accountability and intention, particularly to younger audiences who are increasingly adept at identifying and valuing sustainability in the brands they engage with. Aesop has also listed certification from Leaping Bunny on their website along with their assessment as a Certified B Corp, demonstrating how transparent third-party certification can help establish consumer trust and link their sustainability and brand strategies.

Considering insights from Patagonia and UQP, it is clear that there are both compelling reasons and practical avenues for Australian publishing houses to adopt environmentally sustainable marketing practices, with room for more innovation. While UQP acknowledged that digital marketing offers benefits for both consumer engagement and sustainability, they also noted that its measurable impact—particularly since signing the SDG Compact—can be difficult to quantify. As discussed earlier, social media platforms—particularly book influencers—now play a pivotal role in sustainable marketing strategies in the publishing industry. Publishers like UQP can capitalise on digital engagement by collaborating with ‘Bookstagrammers’ and ‘BookTok’ creators to disseminate their brand in a sustainable way. We suggest that houses like UQP experiment by allocating both sustainability-focused and general titles to influencers, measuring what types of content and values resonate most with audiences. Regardless of these next steps, it is clear that both Patagonia and UQP are helping to lead the way in reimagining eco-conscious publishing through a marketing lens.

Our interview with PRH demonstrates that while publishers are taking more meaningful steps towards environmentally sustainable marketing and branding practices, there are considerable roadblocks. There is a lot more space for further research and innovation to be done to provide sustainable alternatives and options that are financially viable for publishing houses, not only in production but in marketing and distribution. Otherwise, the tension between environmental and economic sustainability will remain a barrier. Future research could also investigate the shifting of environmental responsibility along the supply chain. For instance, our interview reveals that the end-of-life management of physical POS materials is largely left to booksellers, who may not share PRH’s sustainability priorities, or lack resources. Our discussion with Amplify Bookstore demonstrates how booksellers who want to act responsibly face practical barriers to incorporating sustainable practices. This raises important questions about accountability and alignment of environmental goals across industry stakeholders.

While our discussion has focused on the environmental impacts of physical marketing materials, it is important to note that digital marketing strategies come with their own set of environmental issues. Digital carbon footprints pose a large threat to the environment—it is predicted that the internet will use 25% of the electricity available worldwide by 2027, which is generated mostly through the combustion of fossil fuels. This is not to mention the production and maintenance for the technology and equipment needed to support the infrastructure. This suggests that while there is still significant room for improvement in making both digital and physical marketing strategies more environmentally sustainable. As an example, while Aesop has shared its aim to decrease its carbon footprint as much as possible, the company details in its 2023 Impact Report that contributing factors to a significant increase in emissions from digital marketing were tied to a larger financial spend in digital marketing as Aesop launched and grew their business in China.

Findings

Drawing on our case studies, we offer several suggestions for the Australian publishing industry as it moves towards more environmentally sustainable marketing practices.

First, publishers can look to adjacent industries for inspiration on integrating sustainability into their operations—for example, by engaging with environmentally focused organisations such as the Australian Packaging Covenant—and rethinking how sustainability is represented in their branding and communications. Aesop, for instance, is a signatory to the Australian Packaging Covenant, a national regulatory framework under the Australian Packaging Covenant Organisation (APCO), which sets and tracks National Packaging Targets and provides guidelines for signatories to work towards more environmentally sustainable packaging. In the publishing sphere, PRH are also signatories to APCO and in 2024 PRH reported that they were on track to reach 100% recyclable packaging by 2025.

Second, sustainable branding must be supported by sustainable operations. Re-strategising online branding efforts is only effective when backed by internal practices that reflect genuine environmental responsibility. This includes seeking official certifications, partnering with like-minded manufacturers and distributors, and leveraging digital platforms—particularly through influencer engagement—to communicate these commitments authentically. A values-driven approach not only strengthens brand credibility but also builds long-term trust among consumers, particularly younger audiences who increasingly expect more from the brands they engage with.

Finally, while the publishing industry is often shaped by consumer demand, Australian publishers also hold the power to lead. Through proactive choices and transparent marketing, they can influence how sustainability is understood and prioritised—setting new standards for the industry and its audiences alike.